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1	Intimate masculinities in the work of Paul Emmanuel Bronner, Irene Enslé January 2011 (has links) Paul Emmanuel is a South African artist who produces incised drawings, outdoor installations and prints (particularly intaglio etchings and manière noire lithographs). These focus on the representation of male bodies and experience. Having begun his career as a collaborative printmaker, since 2002, his work has become more ambitious as well as critically acclaimed. In 2010, his most recent body of work, Transitions, was exhibited at the Smithsonian Museum of African Art in Washington D.C. I propose that Emmanuel represents the male body as a presence that either is not easily seen or that actively disappears or erases itself. Its subjectivity, and the viewer’s engagement with it, may be characterised as one of intimacy, exposure, loss and vulnerability. Emmanuel’s work may be said to question conventions and ideals of masculinity while, at the same time, refusing any prescriptive interpretation. To develop this proposition, I examine specifically Emmanuel’s incising drawing technique that ‘holds open’ transitions in male lives. In these liminal moments, Emmanuel represents men as ‘seen’ to change state or status, thereby exposing the ongoing process of building masculine identities. Equally elucidatory is Emmanuel’s imprinting of his own body, which, in his use of “traces” that reveal the vacillation between presence and absence, makes contingently ‘visible’ this gendering process, and has particular implications for the expression of subjectivity in a contemporary South African context. Emmanuel, Paul, 1969- Masculinity in art Identity (Psychology) in art Gender identity in art Art, South African -- 21st century
2	Repositioning the problematic gender formation of a generation of white South African men through performance art Swanepoel, Andrew Peter 08 1900 (has links) An overview of global statistics on violence, country to country and worldwide, indicates that men are the main perpetrators of violence in our societies. Furthermore, the behavioural traits of risk-taking and self-harm are also associated with men. It is my contention that the formative processes involved in gender identity are at the root of these dysfunctions. In an attempt to present a positive alternative, I focus on a group I name the X- Men: white South African Generation X males. Drawing on Judith Butler‟s theory of performativity and its allowance for agency and resistance, I argue that they are not necessarily trapped by how their gender identities were formed through Apartheid‟s gendered institutions. These included schools, sport and the military. I posit that within the institution of art, self-aware artists may present visual representations of resistance and transformation. Acknowledging art as signifying text, the X-Men situate signs differently in an effort to accomplish a social and intersubjective raising-of-awareness. Additionally, this new identity and its associated positive performance have the potential to undermine certain stereotypical perceptions harboured by the broader society as a result of problematic behaviour associated with men. / Art History, Visual Arts and Musicology / M.V.A. Aesthetics Apartheid Auto-ethnography Baby Boomer generation Being Dasein Deconstruction Ethnography Existentialism Feminism Generation X Ideology Intersubjectivity Intertextuality Langue Lichtung Masculinities Militarisation Parole Performance ethnography Performativity Phallic Phallogocentrism Phenomenology Reflexive Whiteness 700.452110968 Emmanuel, Paul, 1969- -- Influence Boshoff, Willem, 1951- -- Influence Pienaar, Peet -- Influence Van Heerden, Peter -- Influence Gender identity in art -- Case studies Masculinity in art -- Case studies

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Intimate masculinities in the work of Paul Emmanuel

Repositioning the problematic gender formation of a generation of white South African men through performance art